cisions on these topics have not been generally admitted.

If, therefore, I propose to supply what deficiencies these authors may be thought to have left in explaining or supporting their different systems: if, where they have been unable to form a system on any of these intricate subjects, or, have invented one visibly erroneous, I hazard a solution of the difficulty, I hope that the attempt will not be destitute of indulgence. This task I have presumed to undertake.

Wherever these authors seemed unsatisfactorily to maintain or explain their conceptions, I have studied to compensate the imperfection. Where they have been misunderstood, and their ideas on this account rejected, I have laboured to shew their accuracy: where they have failed, or not exactly reached the object in view, I have endeavoured to meet the difficulty, and propose an original, and what I venture to hope that the reader will think, a well-founded system. Thus on the points of Style and Genius, on which no systems have yet approached to exactitude, I have endeavoured to give a complete explanation from my own reflections.

The principal ground, on which I have taken up each opinion, has been experience, I have not maintained one, but what seemed

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authorised by this criterion. This, indeed,
appeared to be the only test worthy of con-
sideration in attempts towards a production
solidly beneficial. So far from aspiring after,
I have disdained the praise of ingenuity; my
sole ambition has been for that of truth. This
I sought in all my investigations, and difficult,
abstruse, as they were, I never thought them
entitled to regard, till, by pursuing them to
their last extent, I had waded to this final
term. Experience, too, is the only standard
by which I wish their merit to be determined.

If I may be suspected of arrogance, in pre-
tending definitively to settle what so many
celebrated critics have not been able satisfac-
torily to ascertain, let it be recollected, that
such success is possible, without entitling its
author to extravagant pretensions to merit. It
frequently, happens that previous discussion,
without attaining its object, may be, so far, an
elucidation, as to render it, in consequence,
easily discernible. It, sometimes, also hap-
pens, that what has long perplexed men of
greater erudition, may occasionally, present
itself to a person possessed of less. It might,
therefore, easily, be that I put in my claim to
these discoveries, without extraordinary pre-
sumption, or even merit.

Lastly, if I may be thought to have been very brief in these dissertations, I must state

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that it appeared to me unnecessary to be other wise. My plan has been to give a bare analysis of the first principles of the Belles Lettres, Sublimity, Style, Beauty, Genius, and Taste. That completed, I thought it unnecessary to look farther, knowing that every subordinate point was so amply treated by critics, as to preclude me all power of adding to their ob

servations.

On abstruse subjects, too, the fewer the words, and the clearer, the better. The survey of such subjects is, also, rendered less painful, from the consideration that it is not of too great a length for an ordinary mind to recollect; and this latter is no unimportant consideration in intricate dissertations.

With an eye to these various grounds for indulgence, it is to be trusted that the judicious reader will commence the perusal of this short, but difficult attempt.

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SUBLIMITY.

CHAP. I.

The System of Longinus.

PREVIOUSLY to the exposition of a new system on sublimity, a review of the systems, which have hitherto been proposed, seemed but a tribute due to the industry, which produced them. Not all, however, have been selected for discussion, but, only three of the most distinguished. To these, as they appeared to comprise the merit of the rest, with a display, at the same time, of much superior subtilty and penetration, it was deemed sufficiently satisfactory to confine the attention. The authors of the systems alluded to are Longinus, Burke, and Blair.

Longinus was the first author of eminence, who started forth in this career of criticism. He was endowed with every talent requisite for the undertaking, a vigour of genius able to comprehend a matter of so much intricacy,

and extraordinary correctness of judgment, Dr. Hurd observes, that he was gifted with talents capable of penetrating the very soul of fine writing. Indeed, of all critics, who have pretended to a theory on Sublimity, there, perhaps, never arose one, who, for acuteness, and peneration, could have been selected, in preference, for so venturesome a task.

His system is divided into five heads; independent elevation of thought, ardent feeling, or, the power of moving the passions, tropes, figures, and musical arrangement. To one, or other of these he traces every instance of Sublimity.

To the generality of critics, this survey of the subject appears too vague. To the two first principles, indeed, independent elevation of thought, and ardent feeling, they think little, or no censure applicable; but, to the three last they start serious opposition.

That they should agree in bestowing greater indulgence on the former, appears very rational. Certainly, Sublimity is no where to be discovered, but under the influence of such causes. All expressions of high honour, magnanimity; all, that convey elevation of sentiment, that display the noblest powers of the mind, are usually distinguished by this characteristic. The great of every description is its ordinary subject, is its sole foundation. But,